四川省文物考古研究院院长 高大伦 、四川大学历史文化学院副院长 李映福 《中国文物鉴赏辞典》：“此瓶通体沉着的蓝釉，配上神态生动的白龙，是一件极为珍贵的艺术精品。”

Gao Dalun, Dean of Sichuan Academy of Cultural Relics and Archaeology, and Li Yingfu, Vice Dean of Sichuan University College of History and Culture, Dictionary of Chinese Cultural Relics Appreciation:"This bottle is a very precious fine art with its blue glaze and vivid white dragon."

元朝时景德镇的各大瓷容都被朝廷所管辖，专门为皇室贵族烧制瓷器。这种精美的元霁蓝釉白龙纹梅瓶由于其图案的特殊性，只允许收藏于皇宫当中。成批的瓷器烧制成功之后，品质较为完美的被直接运往京城，那些稍有瑕疵的就会被当场砸碎，因此这种梅瓶的产量在当时就比较少。后来历经朝代更替和岁月变迁，其数量越来越稀少，也变得越来越珍。

During the Yuan Dynasty,Jingdezhen's various porcelain features were under the jurisdiction of the court, specially firing porcelain for the Royal nobles. Because of the particularity of its design, this exquisiteplum bottle with blue glaze and white dragon pattern is only allowed to be stored in the palace. Afterthesuccessful firing of batches of porcelain, the more perfect quality was directly transported to Beijing, and those with slight defects would be smashed on the spot, so the production of plum bottles was relatively small at that time. Later, after dynasties and years of change, the number of them became scarcer and more precious.

元代的瓷器制作在继承传统的基础上又有所创新，制作出了独具特色的精品，这种霁蓝釉梅瓶就是其中一种。元朝时，景德镇采用了新的制作工艺，把“钴”作为呈色剂融在釉中，烧制出了美丽如蓝宝石般的钴蓝釉。施釉方法是先在刻画的龙纹和云纹上施白釉，然后将纹饰罩上，其余部分施蓝釉。其生坯施釉，1280～1300℃高温下一次烧成。工艺继承元代传统，延烧不断。元霁蓝釉白龙纹梅瓶是元代景德镇瓷器，元霁蓝釉白龙纹梅瓶高43cm梅瓶口小，颈短，肩丰。肩以下逐渐收敛，至近底部微微外撇。通体施霁蓝釉，云龙、宝珠施青白釉。元霁蓝釉白龙纹梅瓶代表了元代瓷器烧制的最高水平。

On the basis of inheriting the tradition, the production of porcelains in the Yuan Dynasty was innovative, and produced a unique boutique. This kind of indigo glazed plum bottle is one of them. During the Yuan Dynasty, Jingdezhen adopted a new manufacturing process, using "cobalt" as a colorant to melt in the glaze, and fired a beautiful sapphire-like cobalt-blue glaze. The glazing method is to apply white glaze on the dragon and moire, then cover the decorative pattern with blue glaze on the rest.

The green body is glazed and fired next time at 1280-1300 C. The craft inherits the tradition of the Yuan Dynasty and continues to burn. The white dragon plum bottle with Yuan Dynasty blue glaze isJingdezhen porcelains of Yuan dynasty. The white dragon plum bottle with Yuan Dynasty blue glaze is 43cm highwith small mouth, short neck and abundant shoulders.

Convergence gradually below shoulder, till slightly abandoned near bottom. The whole body is covered with blue glaze, while Yunlong and jewelry are covered with blue and white glaze. The white dragon plum bottle with blue glaze of Yuan Dynasty represents the highest level of firing of Yuan Dynasty porcelain.

元霁蓝釉白龙纹梅瓶端庄秀丽，通体施蓝色釉，釉质肥厚莹润，色彩浓艳，透明度强。梅瓶的造型为小口，口沿宽平，颈细而短，肩部丰满，腹部以下收敛，底足微撇。瓶的腹部刻有飞腾游动的自龙纹饰，蓝白相映，对比鲜明，具有很强的艺术魅力。此梅瓶是元代景德镇烧造的件代表性的精品，无论是制作工艺，还是装潢工艺，都非常精湛。到了元代，由于制瓷工匠掌握了钴的呈色原理，所以此梅瓶具有色彩浓艳、釉层淳厚、光泽度强、透明度好的特点。而且此梅瓶蓝釉浓艳，白釉泛青，色彩对比既强烈又柔和，能给人以和谐的美感。

Yuan Dynasty Blue Glaze White Dragon Plum Bottle is elegant and graceful, with blue glaze all over the body. The glaze is rich and lustrous, colorful and transparent. The shape of plum bottle is small mouth, wide and flat along the mouth, thin and short neck, full shoulder, convergence below the abdomen, slightly skinny soles and feet. The abdomen of the bottle is engraved with flying dragon decorations, blue and white contrast, with a strong artistic charm.

This plum bottle is a representative product of Jingdezhen in Yuan Dynasty. It is exquisite in both manufacturing and decoration. By the Yuan Dynasty, because the pottery craftsmen mastered the principle of cobalt colouring, the plum bottle had the characteristics of bright colour, pure glaze, strong gloss and good transparency. Moreover, the blue glaze of the plum bottle is rich and bright, and the white glaze is green. The color contrast is strong and soft, which can give people a harmonious aesthetic feeling.

由于龙是中国人心中的神物，自古以来就被尊奉崇拜，以至迷信，所以，以龙纹为装饰图案的器物很多，比比皆是，不胜枚举。但作为装饰纹样，龙的形状是不断演变的，经历了一个由粗糙到精细，由简单到复杂，由朴素到华丽，由原始到成熟的发展过程。到了元代，龙的造型更加美观，龙体更加修长、屈曲。梅瓶上的龙纹，具有典型的元代龙纹的特征，龙头上昂，张口翘舌，双角向后伸展，两眼正视，细颈疏鬣，曲腹蛇尾，背鳍整齐，龙鳞细密，肘毛细长，四腿三爪，刚劲有力。龙纹首尾相接，张牙舞爪，作腾飞游动之状。再以蓝釉点饰龙眼，起到画龙点睛的艺术效果。龙纹的上下饰火珠纹及流云纹，使凌空飞舞的气氛更加突出，整个画面疏密有致，笔意流畅自然。

As the dragon is a God in the heart of the Chinese people, it has been worshipped and even superstitious since ancient times, so there are a lot of objects with dragon patterns as decorative patterns, everywhere and numerous. But as decorative patterns, the shape of dragon is constantly evolving.

It has undergone a process of development from rough to fine, from simple to complex, from simple to gorgeous, from primitive to mature. By the Yuan Dynasty, the dragon's shape was more beautiful and its body was more slender and flexible.

The dragon pattern on plum bottle is typical of the dragon pattern of Yuan Dynasty. The dragon pattern on plum bottle has the characteristics of high dragon head, open mouth and warped tongue, double angle stretching backward, two eyes facing each other, thin neck, curly belly and snake tail, neat dorsal fin, fine dragon scale, Long Elbow capillary, four legs and three claws, strong and powerful. Dragon pattern head to tail, open teeth and dance claws, for the shape of take-off and swimming.

Then the longan is decorated with blue glaze, which has the artistic effect of finishing the painting. The upper and lower decorations of the dragon pattern are fireball pattern and flowing moire pattern, which make the atmosphere of flying in the sky more prominent. The whole picture is dense and compact, and the brushwork is smooth and natural.

藏家和有关专家研究证明：在博陵第系列中，青花器幽蓝神韵，是典型的至正年代的精品；而雕塑彩绘、立粉珐琅彩、红绿彩、青花五彩、珐华彩，等等，更是横空出世，颠覆了原以为直到明季以后才有出现这些品类的传统观念。博陵第，无论在制胎工艺上，还是在呈色、釉料、绘画、纹饰上，都较之国内外已知青花等元瓷有过之而无不及。它们，既是南北多元文化和中外文化相融合的产物，又是造型艺术与绘画艺术完美结合的高端艺术品。毫不夸张地说，博陵第其精美度和文化含量远远超过已知元瓷。它们的亮相，是对传统元瓷概念、观念及学术思想的猛烈冲击。不难想象，博陵第，当时就是闻名遐迩、享誉中外的名牌，是元瓷的集大成者。博陵第，不仅是元代而且是整个中国瓷器史上的灿烂篇章，是中国文化之光，中华文物之荣，是我们民族文化自信和文物自信的有力物证。

Tibetans and relevant experts have proved that in the series of Boling, blue and white artifacts are typical of the high-quality products of the Zhengzheng era, while sculpture painting, powder enamel, red and green color, blue and white colorful, enamel, and so on, are all out of the world, overturning the traditional view that these categories did not appear until after the Ming Dynasty. Read.

Bolingdi, no matter in the manufacturing process, or in the coloring, glaze, painting, decoration, is better than the known blue and white metaceramics at home and abroad. They are not only the product of the integration of North-South multi-cultures and Chinese and foreign cultures, but also the high-end works of art of perfect combination of plastic arts and painting arts. It is no exaggeration to say that Bolingdi's exquisiteness and cultural content far exceed the known Yuan Porcelain.

Their appearance is a fierce impact on the traditional concept, concept and academic thought of Yuan Porcelain. It is not difficult to imagine that Bolingdi, at that time, was a famous brand both at home and abroad, and a master of Yuan Porcelain. Bolingdi is not only a brilliant chapter in the history of Chinese porcelain in the Yuan Dynasty, but also the light of Chinese culture. The glory of Chinese cultural relics is a powerful material evidence of our national cultural self-confidence and cultural relics self-confidence.

目前藏品持有人欲将此珍品结缘于有缘之士，参加2019年美国高端精品拍卖会，有兴趣可预约贵宾名额，一览珍品风采！

At present, the holders of collections want to tie this treasure to those who have good luck to participate in the 2019 American high-end boutique auction. They are interested in appointing VIPs to have a look at the elegance of the treasures.